Pippin | Upstairs at the Gatehouse

Stephen Schwartz's work is currently wildly popular worldwide with the recent mega success of musical movies Wicked and Wicked: For Good. Upstairs at the Gatehouse has chosen a rather hidden Schwartz musical for this festive season, with a book by Roger O. Hirson and music and lyrics by Schwartz, Pippin is a glorious and unforgettable musical. 

Pippin, the eldest son of King Charlemagne, drifts through life trying to discover who he is and the meaning of his life. Often jumping from idea to idea, Pippin never quite belongs anywhere, nor does he experience a sense of contentment, much less happiness. Pippin attempts being soldier, wanting to do something meaningful with his life yet discovers that he's not a fighter. He attempts to find ecstasy through pleasures of the here and now. He joins the peasants revolution for a fairer lifestyle. He overthrows his father as King, wanting to be a just and generous ruler without realising the practical limitations of this. He finds himself on a farm, leading a small life but soon tires of it as well. Pippin breezes through life, always looking for more, shedding his old life for a new one at every opportunity. 

Pippin is a musical with a story like no other, for it takes on a sharp sense of introspection and reflection that seeps into the audience. The musical is most notably narrated by The Leading Player, who leads a mysterious troupe, weaving magic and tricks and dramatics into Pippin's life. The musical demolishes the barrier between audiences and characters, addressing them directly at the musical's beginning, inviting them to take the journey alongside Pippin, and to 'watch the show'. The Leading Player, wielding magic, frequently changes the fate of the characters and guides Pippin through the different lives that he tries to lead. The Leading Player, both in an amusing and haunting turn, directly confronts characters in the moment as they slowly pull Pippin to a devastating end. 

Pippin has always been a favourite show of musical theatre fans, boasting an excellent score and a story that refuses to be defined by rules or tradition, and yet is notoriously hard to get right. Upstairs at the Gatehouse has proved once again that they are capable of creating magic in their intimate space, a real castle in the clouds as it were. 

This production has been directed and choreographed by Amanda Noar with Harry Style as the Musical Director. Noar's direction is slick, allowing for the text to emerge in its brilliance with priority given to allowing the characters the space to be fully developed. Pippin, which is also known for its spectacle, has been given a more stripped back approach yet still feels as dazzling as ever - this is in large part due to the extremely talented cast. 

A large part of the musical's premise bottles down to this performance troupe and this production has created a brilliant ensemble. George Kipa and Imogen Amos are the two players whose devilish feats of acrobatics is gasp-worthy. Daniel North, in his professional debut, is a confident and charming performer, flirting with the front row as Lewis, Pippin's younger half-brother. Oliver Wood as King Charles is a bold performer with another strong performance. Wood showcases his comedy and acting abilities in the role, but is most impressive in the musical number War is a Science. Clare Brice is a highlight as Berthe, Pippin's Grandmother. In an audience favourite number No Time at All, Brice goes all out with a triple threat performance. Helena Caldas shines as Fastrada, Pippin's stepmother. Caladas is hilarious as the manipulative wife, switching between the picture of innocence and a calculating mother. In an act one highlight, Caldas' Spread a Little Sunshine is a wonderful rendition of the song, delighting the audience with an impressive dramatic flair and all out choreography.

Mia Quimbo, in her professional debut, delivers a rather mature and beautiful performance as Catherine. Quimbo has lovely vocals and delivers an assured performance. Emily Friberg is outstanding as the Leading Player, with a majestic portrayal. Friberg takes on the demanding the role with ease, making the character one that audiences love to love and hate to hate. Friberg has powerhouse vocals that lends itself well to the musical. Friberg takes on the emotional spectrum of the character, allowing for the subtleties of each decision to cloak the character's intentions at every turn, delivering an arresting performance. 

Lewis Edgar is captivating and irresistible as Pippin, bringing a wild and childish naivety to the role. Edgar has heavenly vocals that lift the entire score, along with a refreshingly gentle stage presence that helps the character feel more authentic. Edgar's Pippin feels even more lost than most, and thus renders the character even more vulnerable. Edgar has clearly poured his heart into the role, with an emotional layer making the character's failures even more touching. 

The set has been designed by Hannah Danson, who has taken on a minimalistic and yet clever approach. Scaffolding and unfinished sets are slowly decorated, revealed and built upon during the show, as the colour and magic is unleashed into Pippin's world by the Leading Player. These are gorgeously painted, with a strong emphasis on the stars (a design painted on the floor as well). Danson has also designed costumes that sit between period clothing and a modern abstract tone, with the flexibility and flamboyance to make the six players fascinating. 

Noar's choreography allows for the player's movements to feel fluid and grand, filling the space with practiced perfection. The dance numbers performed by the players are impressive, with lifts and flips that have the audience in awe. The production also leads into the magical elements of the show with the help of Martin. T. Hart as magic consultant, performing the occasional and impressive trick that is bewildering and brilliant. 

Simon Jackson's lighting design adds a sense of whimsy to the production, with colourful hints infusing the darker corners of the intimate theatre, filling it with hope. Richard Carter's sound design helps the voice of the Leading Player to wash over the audience, creating an hollow and echoing effect that helps audiences connect to Pippin further. 

Pippin, which is already a strong piece of theatre that consistently breaks the fourth wall by taking audiences and Pippin on a journey of introspection alike, is made even more astounding with its conclusion. When all is said and done, and the extraordinary fades back into the extraordinary, the glamour of the production is washed away with a finale that will be forever etched into the minds of the audience. 

Pippin is a musical gem that will entice and delight musical theatre fans. Let the magic guide you to a wicked production, filled with soaring vocals, gorgeous staging and a beautiful journey.

Pippin is playing at Upstairs at the Gatehouse until 11th January 2026.

Tickets and More Information

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Inigo Woodham-Smith